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MINUS SPACE is pleased to present the exhibition Roberta Allen: Some Facts About Fear. This is the renowned New York City-based artist and writer’s second solo exhibition at the gallery and it will present a new suite of works on paper and one sculptural installation.

For five decades, Roberta Allen has produced conceptually-driven work in a variety of media, including drawing, collage, photography, printmaking, artist books, and installation. Her groundbreaking work produced during the 1970s often merged performance, photography and language, revealing wholly unique forms that hybridized and advanced the discourse of Post-Minimalism, Conceptual, Feminist, and Performance Art.

Allen’s current exhibition will premiere two new, multi-faceted works by the artist: Some Facts About Fear and City of Dying Dreams. Based and expanding upon an earlier body of work she originally produced in 1980, Some Facts About Fear consists of 40 works on paper produced with an array of mixed media materials, including coffee, marker, graphite, and colored pencil. Merging visual image and verbal description, the work combines conceptual diagrams, as well as instances of representational imagery, such as a handgun, glass of wine, butterfly, ice cream sundae, and a couple French kissing, alongside snippets of handwritten, descriptive text. Some Facts About Fear will be installed across all three walls of the gallery in a single horizontal frieze.

In the center of the gallery, Allen will also present a new sculptural installation entitled City of Dying Dreams on an unadorned, low-lying MDF plinth. The work consists of approximately 100 vertical forms, often resembling fanciful architectural towers intricately assembled out of untreated wooden shapes commonly used in children’s model kits and craft projects. The towers vary widely in size and appearance, and are presented densely packed together on the pedestal. Some towers stand tall while others lean precariously against each other or are knocked over entirely and lie on their sides.

For further information about Roberta Allen, her exhibition, or available artworks, please contact the gallery. Available artworks can also be viewed on our Artsy page: www.artsy.net/minus-space.

ABOUT THE ARTIST
Roberta Allen (b. 1945, New York, NY) is a New York City-based visual artist and writer. Allen has travelled widely throughout her career. She lived and worked in Europe, and later travelled in Central and South America and West Africa. Since the late 1960s, Allen has mounted more than two dozen solo exhibitions, including two at MoMA/PS1 and four at the legendary John Weber Gallery (both NYC), where she was represented during the 1970s and early 1980s. She has also mounted one-person exhibitions at Franklin Furnace (NYC); The Athenaeum Music & Arts Library (La Jolla, CA); Stadtische Galerie im Lenbachhaus (Munich, Germany); and Perth Institute of Contemporary Arts (Perth, Australia), among others in the United States and abroad.

In addition to her visual work, Allen is an accomplished writer who has been widely published since the 1980s. This includes her brand new book The Princess of Herself (Pelekinesis, 2017), as well as three short story collections (The Traveling Woman, The Daughter, Certain People), a novel (The Dreaming Girl), a memoir (Amazon Dream), and three writing guides (Fast Fiction, The Playful Way to Serious Writing, The Playful Way to Knowing Yourself). Her stories, memoirs, essays, and articles have been included in more than a dozen anthologies and more than three hundred magazines and journals. Allen has received writing awards from the National Endowment for the Arts, New York State Arts Council, Yaddo, and MacDowell Colony, among others.

ABOUT MINUS SPACE
Founded in 2003, MINUS SPACE presents the past, present, and future of reductive art on the international level.

For such will be our ruin if you, in the immensity of your public abstractions forget the private figure, or if we in the intensity of our private emotions forget the public world. Both houses will be ruined, the public and the private... for they are inseparably connected. -Virginia Woolf, “Three Guineas”

In her first exhibition with the gallery, Gahee Park presents a series of paintings that concern themselves with the private sphere, with the need for people to hide parts of their lives from public display and consumption in order to feel fully human. However, if the private sphere has this quasi-utopian element, it is also fragile and combustible because it is always embedded in the structure of the dominant culture, and it replicates the hierarchies and power dynamics of the public realm. It is a site where repression is released and thus nakedly revealed, a subjective space that it can seem hallucinatory and grotesquely comical even as it feels liberating and essential. The public sphere bleeds into the private, infects it, and the life-sustaining private rituals that take place there can take on a performative aspect that seems contradictory. For whom (or against whom) are we staging these rituals? Ourselves? Each other? The neighbors? The cat? Park's work combines a satirical perspective with a sympathetic investment in the scenes and narratives she depicts, taking a bemused ironic view of these questions.

GaHee Park received her MFA from Hunter College. Recent solo and group exhibitions include: Intimisms, James Cohen, New York; Butt on Face, Pioneer Works, New York; No No Means Yes Yes, Marginal Utility Gallery, Philadelphia and Sexuality at NAM Project, Milan. She lives and works in New York.

Curated by Janna Dyk. Relative Material examines the diverse ways that seven artists utilize family mythologies, histories, experiences, and ephemera as source material from which to reflect upon and question broader issues of political, philosophical, historical and sociological concern.

Outdoor Activities
William Wegman
Featured Artist Show
Opening November 10
November 10 - January 14

Picture Room is excited to announce our new Feature Artist, William Wegman. The exhibition, Outdoor Activities, presents previously unseen lithographs and etchings, as well as watercolours and collages. On view will be the entirety of Field Guide to North America and to Other Regions, a collection of unique photographs, menus, diagrams, and more charming memorabilia from Wegman’s many excursions to the great outdoors, serving as a real manual for camping trips. A selection of plates from The Lewis & Clark Fishing and Cooking Expedition, a portfolio of etchings made by Wegman, published in 1994, will available for the first time as individual artworks, alongside previously unexhibited etchings, Family of Trees, 1993, and Fig. 158 (Wood Pecker), 1989. The centerpiece of the show is a watercolor painting titled Activities that captures the dynamic energy of the great outdoors. In Activities, we see figures fishing, camping, and hiking through delicate linear brush strokes that dance across the entirety of the picture plane with the effect of a camouflage pattern. This image will also be reproduced in a special silk-screen edition published by Picture Room to mark the exhibition.

Widely known and critically acclaimed for his photographs and videos, particularly of his pet weimaraners, Picture Room provides a special look at the diversity of Wegman’s life's work. Pulling from his personal archive, the exhibition explores themes of nature and classic American pastimes, such as hiking, camping, and fishing — all of which appear throughout different points in Wegman’s impressive career. Highlighting never before seen work that will transform one’s understanding and appreciation of the vastness of his creativity, Picture Room encourages and invites everyone to stop by for a window into Wegman’s world.

Pioneer Works is pleased to present White Man On a Pedestal (WMOAP), a two-person exhibition by Doreen Garner and Kenya (Robinson), from November 11 – December 17, 2017. WMOAP questions a prevailing western history that uses white-male-heteronormativity as its persistent model.

Both artists approach WMOAP from an individual practice that is responsive to their experiences as black women operating in a system of white male supremacy. At a time when removing Confederate statues—literally white men on pedestals—are cultural flashpoints of whiteness and class, Garner and (Robinson) play with the size, texture, and scale of white monumentality itself, referencing both real and imagined figureheads of historical exclusion.

Garner’s practice has long involved itself with medical histories. Her research on Dr. J. Marion Sims, canonized as ‘The Father of Modern Gynecology,’ reveals the savagery of his oft-repeated procedures on enslaved women, which were performed without anesthesia or even consent. These women have effectively been lost to history, while a statue of Sims holds court in Central Park. In WMOAP, Garner’s process is two-fold: to recognize Sims’ test subjects and to protest the doctor by three-dimensionally scanning his statue and rebuilding it in Pioneer Works. A silicon cast of it will be used to enact a ‘dissection’ of the monument in an interactive, constructed operating theatre, built as modular installation that will house sculptural work and serve as a space for live performance. Related “meat” sculptures hanging from a meat rack combine sutured skins, body parts, and surgical ephemera into organic, fleshy forms.

(Robinson) has been carrying the #WHITEMANINMYPOCKET (aka Dave Fowler) since 2013. As a 5-inch tall plastic example of an IRL emoji and an archetype of “success,” the figure of a briefcase-touting, suit-wearing white professional has become a fetish object relevant to the contemporary corporate landscape and questions the privilege that is assigned to whiteness. It is a miniature representation of the absurdity of homogeneity in spaces of power. WMOAP offers a platform to lay this idea to rest by enacting a large-scale memorial service for the #WHITEMANINMYPOCKET. In addition to the procession, eulogy, and repast, (Robinson) will manufacture 10,000 ‘Daves’ in the mode of the terracotta soldiers of ancient China, that after their display will ultimately be buried in an undisclosed location at the close of the exhibition.

Through WMOAP, Garner and (Robinson) collaboratively re-enact and hold a funeral for oppression, while revealing the difficulties of making this work within an institutional setting that too often benefits from systems of oppression. While their conversation brings together a literal and figurative cycle of meat and bone, life and death, it also foreshadows an institutional approach to exhibitions where a vested, active interest in inclusion and community engagement are at the core of the institutional mission, not just in its rhetoric or publicity apparatus.

The exhibition will serve as a catalyst for a sweeping anthology of new texts, canonical reprints, archival material, and discussions around white privilege in popular culture and art, slated for print with Pioneer Works Press in spring 2018. This major publication will feature new essays by Claudia Rankine, Emily Nussbaum, and Tavia Nyong’o, among others, alongside conversations between Garner and (Robinson) and M. Lamar, Sanford Biggers, and Harriet A. Washington.

Anthony McCall’s exhibition Solid Light Works, which consists of six large-scale, vertical and horizontal projections, marks the first time these installations have been shown in the United States. They are especially suited to Pioneer Works; it is the only space in New York able to accommodate their monumental scale. The four vertical works will occupy the entirety of the organization’s 140-foot long and nearly 40-foot-high main hall.

A seminal figure of Expanded Cinema, McCall is well known for his “solid-light works.” It was a series he began in 1973 with the 16mm film Line Describing a Cone, in which a volumetric form composed of a beam of projected light slowly evolves in real, three-dimensional space.

McCall regards these works as occupying a place somewhere between sculpture, cinema, and drawing: sculpture because the projected volumes must be occupied and explored by a moving spectator; cinema because these large-scale objects are not static, but structured to progressively shift and change over time; and drawing, because the genesis of each installation is a two-dimensional line-drawing.

The historical importance of McCall’s work has been recognized in such exhibitions as “Into the Light: the Projected Image in American Art 1964-77,” Whitney Museum of American Art (2001-2); “The Expanded Screen: Actions and Installations of the Sixties and Seventies,” Museum Moderner Kunst, Vienna (2003-4); “The Expanded Eye,” Kunsthaus Zurich (2006); “Beyond Cinema: the Art of Projection,” Hamburger Bahnhof, Berlin (2006-7); “The Cinema Effect: Illusion, Reality and the Projected Image,” and Hirshhorn Museum, Washington DC (2008); and “Dreamlands”, Whitney Museum of American Art (2017).

From September 7–December 22, 2017, Assembly’s public storefront gallery will host Project al-Khwarizmi (PAK) POP-UP Workshop, a project by Stephanie Dinkins devoted to exposing pervasive forms of digital discrimination and offering means of working against these inequities. Similar to Recess’s seasoned Session program in Soho, which allows artists to pursue works in progress in a public setting, Assembly grants participating artists the opportunity to activate and add to the space cumulatively, working toward an evolving installation rather than a static exhibition.

Central to PAK POP-UP Workshop is an investigation of algorithms—precise, reusable sets of steps developed for computers to accomplish tasks. Algorithms are the building blocks that make up digital communication systems, medical records archives, and business operations software (among other structures). More generally, anyone who surfs the internet or uses intelligent personal assistants like Siri or Alexa comes into contact with algorithms whose outcomes range from ranked search findings to targeted advertisements in their most harmless forms. While these results might seem to be objectively generated, algorithms can produce content that reinforces systemic inequities. For example, low-income individuals might receive notifications for high-interest loans online, or Siri might harbor racial biases about its user.

Throughout PAK POP-UP Workshop, Dinkins will create opportunities for visitors to isolate and study algorithmic systems in order to consider how the biases ingrained within them impact our daily lives and mold our histories. In particular, the project will include a video installation documenting the artist’s interactions with the social robot Bina48, a workstation and confessional in which visitors can trace and explore the ways in which digital discrimination arises, and schematics of the algorithmic systems that perpetuate racial and socioeconomic biases. Across these components, PAK POP-UP Workshop will endeavor to empower individuals to recognize and intercept moments in which our personal traits are identified, flattened, and used against for or against us by emergent technologies.

In addition to her work on PAK POP-UP Workshop in the gallery space, Dinkins will participate as a guest teaching artist during the educational diversion programs, and she will collaborate with lead teaching artist Leonardo to incorporate material from her project into the program’s curriculum. Dinkins will also guide program participants in creating final projects that, once complete, will appear alongside her work in the storefront gallery.

Automotoy showcases a variety of works incorporating mechanical musical instruments with live performers, as well as John Cage‘s Music for Amplified Toy Pianos.

Originally founded in 2007 by pianist and composer Phyllis Chen, the UnCaged Toy Piano is a composition competition designed to expand the music for toy piano. The instrument has gained interest by performers, composers and artists from a large variety of artistic backgrounds. Given the large number of submissions received through the years, UnCaged Toy Piano has since become a biennial festival hosting three different events in New York City in December. The festival premieres many of these new works and curates a three-day event, showcasing other artists, performers and makers who are using toys and toy pianos in new music.

Invented in 1872, the toy piano was mostly considered an educational toy for children, until John Cage’s seminal work, Suite For Toy Piano (1947) single-handedly turned the toy piano into a concert instrument. In recent decades, a growing number of musicians and audience members have embraced this instrument for its fresh, unassuming yet quirky quality. With time, the UnCaged Toy Piano hopes to develop idiomatic repertoire for the instrument such that it becomes its own artistic entity, giving attention to a relatively unknown instrument with a unique sound and voice.

Pianist Vicky Chow performs as a duo with percussionist Ben Reimer. On tap for the evening are newly commissioned solo and duo works with multimedia by Canadian composers Nicole Lizée and Vincent Ho, as well as a new arrangement of “Double Happiness” from Rome Prize-winner Christopher Cerrone.

Montreal-based percussionist Ben Reimer and Vancouver-born Brooklyn-based pianist Vicky Chow met several years ago at the Bang on a Can Summer Institute at Mass MOCA. In 2016, Chow and Reimer united as a duo by commissioning Canadian composers Nicole Lizée and Vincent Ho. The two made their debut performance in January 2017 at the International PuSH Festival in Vancouver, co-presented by Music on Main, which featured John Luther Adams’ “Four Thousand Holes” and the premiere performances of Lizée’s “Softcore” and Ho’s “Kickin’ It!” After a successful debut, the duo is now a fully fledged commissioning, recording, and touring project.

Canadian pianist Vicky Chow has been described as “new star of new music” by Los Angeles Times and “one of our era’s most brilliant pianists” by Pitchfork. Chow is the pianist for Bang on a Can All-Stars, X88, Chow / Reimer Duo, Grand Band, New Music Detroit, and others. Her sophomore album A O R T A on New Amsterdam Records was hailed as “imaginative” and “compelling” by I Care If You Listen and “a triumph of curation” by Second Inversion. In 2013, she gave the North American premiere of Steve Reich’s work “Piano Counterpoint,” the world premiere of John Zorn’s new piano trio “The Aristos,” and an evening-length work by Tristan Perich for solo piano and 40 channel 1-bit electronics titled Surface Image, presented at Roulette. Vicky Chow is a Yamaha Artist.

Winnipeg-born percussionist Ben Reimer became captivated by the drum set at an early age. Now based in Montreal, Reimer has established himself as a leading figure in contemporary drumset performance, commissioning solo works such as “Ringer” by Nicole Lizée, “Full Grown” by Scott Edward Godin, and “Train Set” by Eliot Britton. Reimer is a member of Architek Percussion in Montreal and is a Sabian Cymbals, Yamaha Canada and Vic Firth artist.

“Softcore” and “Kickin’ It” were commissioned with the support of The Canada Council for the Arts.

Phill Niblock: 6 Hours of Music and Film

Dec 21, 2017 Reception: Thu Dec 21 6pm

Phill Niblock’s annual Winter Solstice concert is six sublime hours of music and film.

As the longest night of the year unfolds and the journey of our planet nears the point when Winter commences in the Northern Hemisphere, Phill Niblock’s stages his annual Winter Solstice concert for the 7th consecutive year in Roulette’s Atlantic Avenue theatre space. Starting at 6:00 PM, the performance will comprise of six sublime hours of acoustic and electronic music and mixed media film and video in a live procession that charts the movement of our planet and the progress of ourselves through art and performance at its maximal best.

Phill Niblock’s minimalistic drone approach to composition and music was inspired by the musical and artistic activities of New York in the 1960s, from the art of Mark Rothko, Carl Andre, Sol LeWitt, Donald Judd, and Robert Morris to the music of John Cage and Morton Feldman. Niblock’s music is an exploration of sound textures created by multiple tones in very dense, often atonal tunings (generally microtonal in conception) performed in long durations.

Phill Niblock is an intermedia artist using music, film, photography, video, and computers as his medium. Since the mid-1960s, he has been making music and intermedia performances which have been shown at numerous venues around the world, including The Museum of Modern Art, The Kitchen, The Institute of Contemporary Art in London, and World Music Institute at Merkin Hall. Since 1985, Niblock has been the director of the Experimental Intermedia Foundation in New York where he has been an artist and member since 1968. He is the producer of Music and Intermedia presentations at Experimental Intermedia since 1973 (with 1000 performances to date!) and the curator of EI’s XI Records label. Niblock’s music is available on the XI, Moikai, Mode and Touch labels. He is the recipient of the prestigious 2014 Foundation for Contemporary Arts John Cage award.

Phill Niblock’s Winter Solstice is made possible in part with public funds from the New York State Council on the Arts’ Electronic Media and Film Presentation Funds grant program, administered by the ARTS Council of the Southern Fingerlakes.

SARDINE is very pleased to present a solo exhibition of new paintings called DARK HUMORISM by Olivia Drusin. The show opens with a reception on Saturday, November 18, from 6 to 9 pm and runs through Sunday, December 17, 2017.

Olivia Drusin paints minimal corporeal compositions that relate to visual phenomena, which unfold in the dark. Colors, washes, and gradients, combined with variations of the work’s content, situate the subject in atmospheric spaces to convey an underlying anxiety. The color relationships in the paintings are both harsh and subtle, producing vibrations that mimic the sense of grasping for an image in a dark space. Drusin examines the human body’s relationship to the way the mind works, and its descriptive response to the base amount of information one’s eyes are able to register in darkness.

The title DARK HUMORISM is a nod to the study of the four humors, the Ancient Greco-Roman system of medicine based on the four fluids of the body; it was believed that these fluids had a direct effect on a person’s overall health and temperament. In these new paintings, Drusin carves out bodies, caves, doorways, and ectoplasm portals to unknown landscapes.

Olivia Drusin lives and works in Brooklyn, New York. She received her BFA from The Cooper Union School of Art, and has recently been included in Laurel curated by Laurence Dujardyn, Tatiana Kronberg, and Rosemary Motley in Brooklyn, NY, and post-magic symbiosis, curated by Lacey Fekishazy at Matteawan Gallery in Beacon, NY. This is her first solo exhibition with SARDINE.

SARDINE is located on the ground floor of 286 Stanhope Street between Wyckoff and Irving Avenues in Bushwick, Brooklyn, one block from the Dekalb L train and near the Knickerbocker M. Gallery hours are Saturday and Sunday from 1 to 6 pm when a show is in progress or by appointment. For more information, please visit sardinebk.com. Contact: Lacey Fekishazy at 914.805.1974 or sardinebk@gmail.com.

Selena presents “Copy Kitty,” a solo exhibition featuring the work of Kyung Me. Kyung Me’s intricate, hypnotic drawings map out puzzled narratives revealing a mysterious cat and dream like scenery that dismantle linear time. For this exhibition, the artist will present her new original drawings focused around her reinvention of the Cheshire cat.

Kyung Me’s invented characters operate as stand-ins for herself, as a means of understanding relationships with herself and others. In her latest autobiographical series, “Copy Kitty,” the artist explores the perverse qualities of obsessive romantic relationships. Through sensitively rendered graphite drawings, Kyung Me creates an immersive world full of dread and humor that both satirizes and eulogizes the naïveté of an immature, paranoid, yet earnest love.

Kyung Me
Kyung Me’s first solo exhibition debuted at Miller Gallery in New York, NY in 2016. Her first graphic novel Bad Korean was published by Spaceface Books in 2016. She is a Yale MFA Painting candidate expected to graduate in 2018. Her work has been featured in Hyperallergic, Vice, The Editorial Magazine, It’s Nice That, and The Huffington Post, among others. She is currently working on her second graphic novel about a pigeon and a butterfly. To view more works please visit sunflowercat.com.

Slag is pleased to present new works by Ben Godward in the project space.

Ben Godward creates sculptures in expanding urethane foam and poured resin colored with raw pigment. The works appear in a wide variety of forms, from painting-like slabs, miniatures the size of ice cubes, to billboard-size outdoor installations in welded metal structures. His works often incorporate a broad assortment of objects ranging from functional printers and ladders to consumer products like soda cans and inflatable yoga balls.

Concurrently, Ben Godward will present a solo exhibition at Sean Scully's studio in New York.

Ben Godward
Sculptures
January 4 - February 8, 2018

Sean Scully Studio
447 West 17 Street New York NY 10001
Open to the public Monday - Friday, 10 AM - 6 PM

Ben Godward's work has been the subject of numerous solo exhibitions and curatorial projects at Socrates Sculpture Park, the Brooklyn Museum, Siena Heights University, and the University at Albany Museum. His work has been discussed in Sculpture magazine, The Brooklyn Rail, and Hyperallergic. He received his MFA from the University at Albany in 2007, and his BFA at Alfred University in 2004. He lives and works in Brooklyn.

Inquiries: Irina Protopopescu, irina@slaggallery.com, 212-967-9818.

Tina Schwarz The Cheerful and Comforting Sentiment of Eternal Damnation

Slag Gallery is pleased to present a solo exhibition featuring new works by Tina Schwarz

Tina Schwarz opens Pandora’s box, and a mythical past is unleashed, and its monsters bleed into the
here-and now, and they dance. This is a realm where anthropomorphic gods reign supreme, a world choreographed to the thud of a beating animal heart. “[...F]orms of growth and of attenuation,
ﬂowing and stowing, conﬂict and resolution, speed, arrest, terriﬁc excitement, calm, or
subtle activation and dreamy lapses ... the greatness and brevity and eternal passing of everything vitally
felt” –this is the logical form of sentience, Susanne Langer urges. And it is precisely this endless rhythm
of individuation and involvement that Tina Schwarz renders visible.

Tina Schwarz draws from ancient myth and philosophy as much as from contemporaneity, and
offers the viewer allegoric, riddle-steeped dynamic processes suspended in time –the dynamism
at the forefront is embodied as much in her expressively bent and transformed ﬁgures, as in the space her
protagonists thusly dissect, organize, vitalise. Imbued with affect, with dream, with bodily attuned beat,
the scope of Schwarz’s paintings is much wider still: her concern is with ways of living and dying and
feeling.1

UPROOT presents the work of artists who are urgently engaging with the current state of affairs since the 2016 presidential election. Over the past year, artists have been motivated to use their creative practice as a vehicle for challenging the divisiveness of the present administration. This exhibition presents an array of responses to the political climate, including art objects, installations, videos, performances, and public programs that address pressing themes, such as migration and displacement, systemic racism, creative action, environmental justice, and the influential role of digital media in shaping national politics.

Moving in rhythms and waves, text embarks from the piers of articles and subjects to certain distant points, navigated by clustered characters moving through the stories of themselves. Marking pages opens space for thoughts that travel through the time of a preoccupation, the stories that I tell myself as I exhaust a page. How do we learn to read narratives that are written not in words but in bare lines, meandering through a breadth and height already delimited by the spaces between rows? If the figure is the character, the ground is a page. Do drawings unfurl across the broken landscape of a spine? Is the drawn sheet another kind of page? Wordless touches the meaning of words without being limited to them, expresses not through sign and signified, but through the rhythms of grammars and silences that are as expressive as the sentences that they punctuate.

How might we touch meaning through words without using them as such? I propose that we learn to listen more closely to the silences and rhythms which are so often as expressive as the sentences that they punctuate. The artists exhibited in the third installment of this series try to find other means of speech, scrutinizing the behaviors of the expressive act. How do we experience the gesture of mark-making? How do we learn to interpret and to intend?

STUDIO10
Passing Through
Robert Marshall
Opening Reception: Friday, November 10th, 2017 7-9 PM
November 10th - December 17th, 2017
In her new body of reflective work, Robert Marshall continues to explore the shifting and relational nature of perception (and identity). She starts with pictures taken on an iPhone, mostly through car and train windows. These are then printed on mirrored Dibond or silver vinyl. Encountering the pictures that result, we can never be quite certain what we’re seeing. If one moves a few inches, the image changes, sometimes subtly, sometimes dramatically. These works resist fixity (and thus documentationthey can’t be “accurately” photographed). Marshall wants to draw us into conundrums: How do we know anything with certainty about the perceived world, about a present that’s always entering the past? As critic Lilly Wei writes, “the world depicted in [Marshall’s work] dissolves, reflection upon reflection, into something more uncertain, mysterious and inaccessible. They’re rife with inexplicable, perhaps accidental anomalies … you might ask: is that stray mark a cloud caught by the camera? Or is it a residue of the process, a rebellious smudge of ink? And where did that bit of color come from?”
As Marshall puts it, “I kind of grew up in the back seat of a car. Viewing a suburban world, but viewing it in motion. It was going past. Or we were. There was always a lot of light. And sky. Now I’m often in trains. There’s a feeling about seeing through windows—seeing in motionwhich I’m trying to capture. I think we’re always in an active relationship with what we’re looking at. I just don’t know another way to see the world.” John Szarkowski, in his 1978 exhibition “Windows and Mirrors” at the Museum of Modern Art, posited that photography fell into two categories: work that looked outward (windows) and work that looked inward (mirrors). But, according to Marshall, “windows are always potential mirrors. And in my work, the mirror is a window. Perhaps it’s because I’m a self-conscious person. But I can’t take myself out of the picture. My work is also about passing through. I mean passing through the world, but also through the threshold of the picture plane. Then finding yourself on the other side.”

STUDIO10 is located at 56 Bogart Street, Brooklyn. Gallery hours: Thursday through Sunday 1-6 pm or by appointment. Contact: (718) 852-4396, www.studio10bogart.com
For More about the artist: www.robertmarshall.net

The Chimney is pleased to present “Reverse Subterrestrial”, a solo exhibition by Japanese-born, New York-based artist Yasue Maetake. Through her sculptures and installations, Maetake explores the notion of animated matter, the effect of time, artifact's material essence and its infinite possibilities of forms as well as their adaptability in light of climate and technological change.

Upon entering the Chimney’s space, viewers discover an unruly and jungle-like environment: sculptures suspended from the ceiling, a video projected on paper works as well as architectural elements. As one engages with this exhibition, several bodies of works emerge at different length - steel, wood, paper sculptures and fiber reliefs - all coalescing into an interactive and living climate. A multi-level structure invites viewers to experience the exhibition from various angles and altitudes, addressing our connection to Earth’s gravitational constraint. These multiple viewing angles explore the tension between human desire to be released from physical constraints and the instinctive sense of security that we seek from physical laws. Viewers are enticed to find stability and tranquility between these two seemingly opposing forces.

Installed on the ceiling, Specks of Green Rust before the Wind, consists of a skeletal-like cane adorned with handmade paper (kozo, abaca and cotton) imbued with wood stains patina and corroded copper. For Maetake, materials are subject to similar behavioral patterns as human, namely ‘affect heuristics’ – a process whereby environmental phenomena generate sensitive reaction in objects that lead them to develop a responding pattern. Seemingly inert objects have a spiritual essence and are in constant motion.

These hybrid objects act between life-like forms in state of birth and in total degeneration and engage in a cycle that parallels that of life itself. The works’ surface appear burned, stained, rusted – indicating the artist’s simultaneous desire to retrieve the original rawness of materials and suggest their state of decay. In this ever-consuming waste society, objects’ functions are exploited to their utmost and this depleting cycle accelerates. Can we overcome the constructed hierarchies between the object realm and ourselves?

The exhibition “Reverse Subterrestrial” integrates industrial constructions with natural growth: decayed materials are being reborn into an unexpected organic amalgamation. The transient quality of the works suggests the effect of time on objects that exists between the natural realm and the man-made.

The Chimney is pleased to present “Eyes as Big as Plates", the ongoing collaborative project between the Finnish-Norwegian artist duo Riitta Ikonen and Karoline Hjorth. Starting out as a play on characters from Nordic folklore, Eyes as Big as Plates has evolved into a continual search for modern human’s belonging to nature.

The series is produced in collaboration with retired farmers, fishermen, zoologists, plumbers, opera singers, housewives, artists, academics and ninety year old parachutists. Since 2011 the artist duo has portrayed seniors in Norway, Finland, France, US, UK, Iceland, the Faroe Islands, Sweden, Japan and Greenland. Each image in the series presents a solitary figure in a landscape, dressed in elements from surroundings that indicate neither time nor place. Here nature acts as both content and context: characters literally inhabit the landscape wearing sculptures they create in collaboration with the artists.

As active participants in our contemporary society, these seniors encourage the rediscovery of a demographic group too often labelled as marginalized or even as a stereotypical cliché. It is in this light that the project aims to generate new perspectives on who we are and where we belong.

Theodore:Art is pleased to present MUST/HAVE, an exhibition that examines the concept of aspirational consumption in the inescapable ‘spectacular’ economy.

The spectacle urges us to watch and consume life instead of actively constructing our own—losing our grasp of our own desires and replacing them with others.

The spectacle is capital to such a degree of accumulation that it becomes an image. #34

The fetishism of commodities reaches moments of fervent exaltation similar to the ecstasies of the convulsions and miracles of the old religious fetishism. #67

The spectacle is the moment when the commodity has attained the total occupation of social life. Not only is the relation to the commodity visible but it is all one sees: the world one sees is its world. #42

...the spectator feels at home nowhere, because the spectacle is everywhere. #30

“Everything that was directly lived has receded into a representation. #1

all quotes from The Society of the Spectacle by Guy Debord (1967, translated 1977)

Alan Belcher is an established visual and conceptual artist, with a foundation of solo and group exhibitions. He is recognized as a driving force behind the hybrid of photography and sculpture (“photo-objects”), and is known for a directness and a sharp simplicity when approaching difficult subject matter. A sense of humour and a reverence for Pop, as well as a hands-on approach, invade much of his conceptual practice. Alan Belcher lived briefly in Vancouver before moving to New York City in 1977. He was co-founder and co-director of Gallery Nature Morte with artist Peter Nagy in the East Village from 1982–88. He lived in Cologne for five years in the early 1990's, and has lived and worked in his hometown of Toronto, Canada ever since.

Jeff Gibson is an Australian-born artist and occasional critic who has worked in a variety of media and contexts—photography, video, prints, posters, banners, and books for galleries and public spaces. A former senior editor of Art&Text magazine, Gibson moved to New York in 1998 to work for Artforum, where he is currently managing editor. Since arriving in New York, he has produced two artist’s books (Dupe: A Partial Compendium of Everyday Delusions [2000] and Sarsaparilla to Sorcery [2007]), exhibited on the Panasonic Astrovision screen in Times Square as part of Creative Time’s “59th Minute” program, and mounted solo shows at the New York Academy of Sciences, Stephan Stoyanov Gallery (New York), and The Suburban (Chicago and Milwaukee). Throughout January 2011, two of the artist’s videos, Smoke and Asylum (both 2010), were projected onto the facade of the Everson Museum of Art in Syracuse, New York, as part of a curated series presented by Light Work and the Urban Video Project. His video Metapoetaestheticism, 2013, was exhibited in the 2014 Whitney Biennial. In 2016, Gibson produced a billboard, titled Armagarden, for the I-70 Sign Show, a curated program of artworks occupying advertising sites on the Missouri interstate. In conjunction with this project, he also produced a foldout poster for the Sunday opinion pages of the Columbia Daily Tribune newspaper.

Richard Paul is an artist based in South-East London. He is also Senior Lecturer in Photography at the Arts University Bournemouth. His work is concerned with material transformation and subjective perception, recently taking the form of 3D lenticular photographs and video. He has also just released an audio novella on vinyl LP – the observers - on the GSOH Records label www.gsohproductions.com. The novella describes the sea voyage of two observers on their way to the atom tests at Bikini Atoll; it is underpinned by music loosely based on Schubert’s Winterriese. He has recently exhibited at the Q Gallery Tokyo, the Center for Fine Art Photography in Colorado, and Annely Juda, London. He has had two solo exhibitions at Theodore Art: You might find yourself in 2013, and Compound Noun in 2011. He was also commissioned to make a series of 3D lenticulars for the contemporary art publisher Used Paper, available at www.usedpaper.co.uk.

Michelle Vaughan received her BFA at UCLA. Her art practice focuses on political or historical subjects: she examines topics and then deconstructs and reinterprets the material through her work. In addition to her studio work, she has produced temporary installations in public settings surrounding topics such as science, history and politics. Solo shows have been exhibited at Dumbo Art Center and the South Street Seaport, where she was awarded fiscal sponsorship from the New York Foundation of the Arts for Sea Warriors: A Public Art Project, in 2009. Her most recent solo exhibition at Theodore:Art, “Generations” (2016), received critical acclaim from Hyperallergic, Two Coats of Paint, The New Criterion, Kill Screen, and Artnet. Vaughan was born in Anaheim, California and lives in New York City.

Tiger Strikes Asteroid New York is pleased to present an exhibition launching our 2018 Flat File program. Chosen from an open call that attracted a diverse range of artists, the 37 selected represent an array of approaches towards flat media: drawing, collage, printmaking, and photography. In many cases the selected works are emblematic of an artist’s core practice, while for some this work represents a departure from a larger body of work. The small-scale format presented in our program presents an elastic site for play and exploration.

Glass Ceiling is a group exhibition bringing together artists who address challenges raised by representation of self and identity through glass. Coined for the first time by Marilyn Loden in her 1978 speech, the term “the glass ceiling” has gained further resonance within the current political and social climate prevalent in the United States and across the globe. The autonomy of women in the social arena in the U.S. has followed a considerable trajectory, from the Seneca Fall Convention in 1848 to Hillary Clinton’s announcement of her presidential candidacy on June 13, 2015. However, the heftiness of a glass ceiling seems overwhelming—and perishable, not only for women, but for those facing perpetual impediment due to gender and race.

Organized by Osman Can Yerebakan, the exhibition interprets the metaphorical conception of a glass ceiling, defining impalpable challenges imposed on certain groups of individuals, while materializing this expression through glass, a medium linked to women through ideas of decoration that has historically been dominated by men. Either working in sculpture to employ the fragile, yet resolute nature of glass or using its aesthetic luster in film or photograph to capture fluidity and resilience, the artworks manifest endurance and assurance in their statements, daringly embodying elegance and allure on the surface. Jes Fan’s wax dumbbells on pillowy glassbubbles comment on masculinity norms through the tension between two mediums, while AK Burns and Katherine Hubbard’s mixed media sculpture puts glass in conversation with other mediums to build an all-embracing narrative on memory and womanhood.